Teaching Hemingway and Race provides a practicable means for teaching the subject of race in Hemingway's writing and related texts--from how to approach ethnic, nonwhite international, and tribal characters to how to teach difficult questions of racial representation. Rather than suggesting that Hemingway's portrayals of cultural otherness are incidental to teaching and reading the texts, the volume brings them to the fore. Included in the collection are Marc Dudley's instruction on how students may recognize "multiple selves at work in a text"; Margaret E. Wright-Cleveland's approach to In Our Time, informed by American studies and women's studies; and Ross Tangedal's discussion of imperialism in Hemingway's two nonfiction books. Other topics addressed include questions of developing vigorous learning outcomes when teaching Hemingway, Hemingway's fascination with Latin America, teaching the Harlem Renaissance through Hemingway, discussing Hemingway's "Soldier's Home" and Langston Hughes's "Home" in tandem, discussing the black presence in The Sun Also Rises, and a means for comparing how Jean Toomer, Ernest Gaines, and Hemingway deal with the issue of race. This latest volume in the Teaching Hemingway series includes ten essays by leading scholars that place racial markers in their historical context, while also illuminating those connections for scholars, classroom teachers, and students. Readers will find it refreshing and enlightening to encounter essays that juxtapose Hemingway's work alongside Alain Locke's The New Negro and explore Hemingway's influence on Jean Toomer, Langston Hughes, Ralph Ellison, Ernest Gaines, and other black writers.

William Faulkner has long been considered the great racial interrogator of the early twentieth-century South. In "Hemingway, Race, and Art", author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner's racial concerns but extended them beyond the South to encompass the entire nation. Though Hemingway wrote extensively about Native Americans and African Americans, always in the back of his mind was Africa. Dudley sees Hemingway's fascination with, and eventual push toward, the African continent as a grand experiment meant to both placate and comfort the white psyche, and to challenge and unsettle it, too. Dudley demonstrates how Hemingway's interest in race was closely aligned to a national anxiety over a changing racial topography. Affected by his American pedigree, his masculinity, and his whiteness, Hemingway's treatment of race is characteristically complex, at once both a perpetuation of type and a questioning of white self-identity. "Hemingway, Race, and Art" expands our understanding of Hemingway and his work and shows how race consciousness pervades the text of one of America's most important and influential writers. -- From publisher's description.

Race and Identity in Hemingway s Fiction explores how Hemingway negotiates race as a defining element of American identity. His interest in race and racial identity emerged in his writing and his personal life, through attention to skin color, performance of racial identity, and experimentation and immersion in tribal life and rituals. This study imagines what Hemingway s fiction would look like if his non-white characters were brought out of the background and asks how Hemingway s conception of American identity transforms when it is constructed on the basis of race.

The subject of endless biographies, fictional depictions, and critical debate, Ernest Hemingway continues to command attention in popular culture and in literary studies. He remains both a definitive stylist of twentieth-century literature and a case study in what happens to an artist consumed by the spectacle of celebrity. The New Hemingway Studies examines how two decades of new-millennium scholarship confirm his continued relevance to an era that, on the surface, appears so distinct from his—one defined by digital realms, ecological anxiety, and globalization. It explores the various sources (print, archival, digital, and other) through which critics access Hemingway. Highlighting the latest critical trends, the contributors to this volume demonstrate how Hemingway's remarkably durable stories, novels, and essays have served as a lens for understanding preeminent concerns in our own time, including paranoia, trauma, iconicity, and racial, sexual, and national identities.

Long recognized as a master teacher at writing programs like VONA, the Loft, and the Stonecoast MFA, with A Stranger's Journey, David Mura has written a book on creative writing that addresses our increasingly diverse American literature. Mura argues for a more inclusive and expansive definition of craft, particularly in relationship to race, even as he elucidates timeless rules of narrative construction in fiction and memoir. His essays offer technique-focused readings of writers such as James Baldwin, ZZ Packer, Maxine Hong Kingston, Mary Karr, and Garrett Hongo, while making compelling connections to Mura's own life and work as a Japanese American writer. In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture. The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.

Ernest Hemingway embraced adventure and courted glamorous friends while writing articles, novels, and short stories that captivated the world. Hemingway’s personal relationships and experiences influenced the content of his fiction, while the progression of places where the author chose to live and work shaped his style and rituals of writing. Whether revisiting the Italian front in A Farewell to Arms, recounting a Pamplona bull run in The Sun Also Rises, or depicting a Cuban fishing village in The Old Man and the Sea, setting played an important part in Hemingway’s fiction. The author also drew on real people—parents, friends, and fellow writers, among others—to create memorable characters in his short stories and novels. In Influencing Hemingway: The People and Places That Shaped His Life and Work Nancy W. Sindelar introduces the reader to the individuals who played significant roles in Hemingway’s development as both a man and as an artist—as well as the environments that had a profound impact on the a